IRON MAIDEN singer Bruce Dickinson, who flew his group around the world in their customized jumbo jet dubbed Ed Force One, named after MAIDEN’s iconic mascot Eddie, has told the Associated Press that he will not be sitting in the pilot’s seat when he and his bandmates return to the road later this year. “Oh, no, no, no, no,” he said. “We’re going to be flying and I’m going to be in the back. Hey, look, I’m 63 — I’m 64 in August. You know, when you get to 65, if you’re an airline pilot, they just take you out the back and shoot, right? So, I’m going to be sitting in the back being the backseat driver.”

According to the Federal Aviation Administration (FAA) and the International Civil Aviation Organization (ICAO), commercial pilots have to retire at age 65. There is currently no maximum age limit for being a private pilot or for being an Air Force pilot.

Dickinson gained a commercial pilot’s license after learning to fly in the 1990s. In 2012 he set up Cardiff Aviation, an aircraft maintenance company which has since changed its name to Caerdav.

Bruce, who spent a few years flying planes for Astraeus Airlines, told CNN in a 2007 interview: “Aviation’s been kicking around my family for as long as I can remember; my uncle was in the RAF. But I always thought I was too stupid. I was useless at maths and majored in history at university, so I thought history majors don’t become pilots, let alone rock stars. And then our drummer learned to fly, so I said, ‘If a drummer can learn to fly, then anyone can.'”

Dickinson told Wales Online that he still gets a thrill out of flying, but that it’s a totally different sensation to playing live.

“The satisfaction flying airplanes is getting the job done, but the satisfaction with playing live is external, looking out at all the people looking at you,” he said. “With an airliner, it’s all internal. If you’ve got passengers, nobody goes, ‘Wow! Wasn’t that great?’ They’re thinking about the rest of their day. Your job as an airline pilot is to deliver them safely and be invisible. That’s quite nice for me because it’s completely the opposite to what I do when I sing.”

Bruce will hit the road with IRON MAIDEN for a new North American leg of the band’s “Legacy Of The Beast” tour in September.

Swedish extreme tech-metal pioneers MESHUGGAH have released “The Abysmal Eye”, the first single from their upcoming ninth studio album, “Immutable”. You can now listen to the song below.

Due on April 1 via Atomic Fire, the follow-up to 2016’s “The Violent Sleep Of Reason” was recorded at Sweetspot Studios in Halmstad, Sweden; mixed by Rickard Bengtsson and Staffan Karlsson; and mastered by multiple Grammy Award winner Vlado Meller (METALLICA, RAGE AGAINST THE MACHINE, RED HOT CHILI PEPPERS, SYSTEM OF A DOWN). Visionary artist Luminokaya once again created the stunning cover artwork.

Full of surprises and yet instantly recognizable as the work of metal’s most idiosyncratic force, “Immutable” redefines and redesigns the MESHUGGAH sound across more than an hour of the most stimulating and absorbing music the band has ever made. Despite the challenges of the last couple of years, the progressive principles that have always informed their artistic efforts remain as cherished as ever. As we spiral towards a dystopian future, MESHUGGAH still stand alone.

For guitarist Mårten Hagström, the task of embarking on another unprecedented tech-metal odyssey was impossible to resist. “For us, it wasn’t all that clear that we were making a new album,” he said. “We knew we could do it, but did we want to do it? We had to decide, are we doing this or what else are we doing? After a long, long discussion, we agreed on certain things. We would make an album with as few restraints as possible. We would go in and try to make as cool an album as possible, have no anxiety about it and see it as an opportunity. How do we make this a challenge that we feel like accepting and rising up to? Pretty quickly we had a starting point. Everybody started to write, the ball started rolling and suddenly we were sitting there, discussing how many songs we were going to have to cut.”

Regarding the “Immutable” title, Hagström said: “The title fits perfectly for where we are as a band. We’re older now. Most of us are in our fifties now, and we’ve settled into who we are. Even though we’ve been experimenting all along, I also think we’ve been the same since day one. The way we approach things and why we still make new albums, and why we still sound the way we do, it’s immutable. Humanity is immutable, too. We commit the same mistakes over and over. And we are immutable. We do what we do, and we don’t change.”

The most inventive and creative metal band of the last 30 years and one of the most widely revered, MESHUGGAH has been standard bearers for forward-thinking creativity in heavy music throughout their illustrious careers. Over the course of more than 30 years and eight studio albums, Sweden’s widely worshipped progressive mavens have consistently redefined what it means to be heavy, while exhibiting a ferocious intelligence that belies the crushing weight of their riffs. From the ground-breaking savagery of 1995’s “Destroy Erase Improve” to the psychedelic tech-splorations of “CatchyThirtyThree”, and on to the streamlined grotesquery of “ObZen” and “Koloss”, MESHUGGAH has always been way ahead of the game and plainly without peer.

In October 2020, MESHUGGAH drummer Tomas Haake confirmed to Knotfest.com’s “Mosh Talks With Beez” that the band had spent much of the downtime during the COVID-19 pandemic working on fresh material.

Regarding the musical direction of the new MESHUGGAH songs, Tomas said: “Of course, we have a certain framework that we still wanna sound like MESHUGGAH, we wanna have that signature sound, we want people to be able to — even if they haven’t heard the song [before] — in the best-case scenario, it’s, like, ‘Oh, that’s gotta be MESHUGGAH,’ even if it’s a brand new thing. So hopefully that’s something we’re aiming at. But with that said, as far as the music goes, we try to [do] kind of the opposite of what AC/DC has been doing for 40 years. So we’re not trying to write the same album over and over. And whether we succeed with that or not, that’s more up to our fans and other people, but that’s definitely the aim. We try our best to kind of find new grips within the framework of what we’re supposed to be, I guess. ‘Cause we don’t wanna really step out of that either. We’re not looking to be another band all of a sudden or something that we haven’t been or that is not true to kind of what we’re doing.”

“Immutable” track listing:

01. Broken Cog
02. The Abysmal Eye
03. Light The Shortening Fuse
04. Phantoms
05. Ligature Marks
06. God He Sees In Mirrors
07. They Move Below
08. Kaleidoscope
09. Black Cathedral
10. I Am That Thirst
11. The Faultless
12. Armies Of The Preposterous
13. Past Tense

MESHUGGAH is:

Jens Kidman – Vocals
Mårten Hagström – Guitars
Dick Lövgren – Bass
Fredrik Thordendal – Guitars
Tomas Haake – Drums

Dave Mustaine says that MEGADETH’s sixteenth studio album, “The Sick, The Dying And The Dead”, will finally arrive this summer.

The MEGADETH leader, who turned 60 in September, touched upon a possible release date for the band’s new record while promoting the next U.S. leg of MEGADETH’s “The Metal Tour Of The Year” with LAMB OF GOD, which will kick off on April 9 in Las Vegas, Nevada and run through May 15 in Allentown, Pennsylvania.

Asked by Forbes if fans can expect this second leg of the tour to be the first tour in support of the new MEGADETH LP, Dave said: “No. This is wrapping up the remainder of last year, but I know that our actual official record release date had gotten moved back again with all of the distribution stuff, and all of these issues with getting product from one place to the next with record plants making vinyl. We’re not reliant on vinyl so much but just the whole process has been delayed, so it’s just gotten moved back again. We’re going to be doing, I believe at the time I’m not sure, but I believe at the time when the record comes out this summer we’ll be on a tour that we’re going to be announcing, but I can’t really get into that right now because I don’t know for sure the dates.”

Last month, Mustaine debuted a snippet of the song “Life In Hell” from “The Sick, The Dying And The Dead” while filming a video message on Cameo, which lets users hire celebrities to record brief, personalized video messages about virtually any topic. Earlier in December, Mustaine revealed that the follow-up to 2016’s “Dystopia” had been mastered and was “super close” to being released.

In a recent interview with American Songwriter magazine, Mustaine said “The Sick, The Dying And The Dead” title track is about the plague, but not solely centered around the current pandemic. A broader, more historical scope of the diseases that have plagued humankind throughout time, “The Sick The Dying And The Dead” covers the current virus, swine flu, and other epidemics from centuries past.

“The song itself was a historical journey of how the plague started and where it went, starting with rats on ships carrying the disease, coming ashore in Sicily,” Mustaine said.

According to Mustaine, the music for “The Sick, The Dying And The Dead” was assembled from riffs and music he has had archived for years, some as far back as his teens. “A lot of the riffs have been saved over time,” he said. “A brand new song can be made up of something I wrote when I was 15 or 55. If It’s a good riff, I’ll save it.”

Mustaine added that guitarist Kiko Loureiro and drummer Dirk Verbeuren were both involved in piecing together the songs on the album, which was recorded mostly in Nashville, with Loureiro working on his parts from his home in Finland.

Mustaine has yet to reveal who played bass on the new MEGADETH album after David Ellefson’s tracks were removed from the LP following his dismissal from the band last May.

Ellefson was fired from MEGADETH after sexually tinged messages and explicit video footage involving the bassist were posted on Twitter.

For the first leg of “The Metal Tour Of The Year”, which took place in August and September, MEGADETH was rejoined by bassist James LoMenzo for the first time in nearly 12 years.

LoMenzo joined MEGADETH in 2006 and appeared on two of the group’s studio albums, 2007’s “United Abominations” and 2009’s “Endgame”. He was fired from the band in 2010 and replaced with a returning Ellefson.

Ellefson was in MEGADETH from the band’s inception in 1983 to 2002, and again from 2010 until his latest departure.

The Mike Ness 1976 Les Paul Deluxe, from the Gibson Custom Shop, features a three-piece maple neck, goldtop finish, and Mike’s favorite P-90 humbuckers.Gibson partners with the producer, and musician Mike Ness, who for the last 44 years has served as the lead guitarist, vocalist, and songwriter for the punk band and rock ‘n’ roll band Social Distortion. Mike’s main guitar of choice is a modified 1976 Les Paul Deluxe Goldtop which was used to create the limited edition Mike Ness 1976 Les Paul Deluxe from Gibson Custom Shop. The Mike Ness 1976 Les Paul Deluxe comes equipped with a three-piece maple neck, a two piece plain maple top and a mahogany/maple/mahogany back. Mike replaced the humbuckers with his favorite P-90’s and the guitar features a lighter weight adding to its overall versatility. The stunning Goldtop finish has been expertly aged by the artisans of the Murphy Lab to match Mike’s original guitar. In addition, the “Orange County,” “Clay Smith Cams Mr. Horsepower,” and “I Voted” stickers featured on Mike’s guitar are included. Mike Ness 1976 Les Paul DeluxeAt the early age of four-years-old, Social Distortion frontman Mike Ness began listening to the radio and discovered The Beatles, CCR, The Supremes and The Rolling Stones. Growing up in the working class suburb of Fullerton, California, he was raised on blues, classic rock, and country, and his earliest influences were pioneers of rock and roll; musicians that were controversial and rebellious. Social Distortion survived their tumultuous youth to pioneer an undeniably honest and fiery brand of rock ‘n’ roll that would incorporate outlaw country, classic seventies punk and primal blues. Seven studio albums and countless electrifying live shows have earned the band a dedicated worldwide fanbase and catalog of timeless anthems including “Story Of My Life,” “Ball And Chain,” “Bad Luck,” “Machine Gun Blues,” and more. As he matured as a songwriter and musician, Ness’s solo recordings Cheating At Solitaire (1999), and Under The Influences (1999), incorporated the raw power and social relevance that has always marked his music, while embracing many of the defining styles in American rock and roll music. The Los Angeles Times described Ness as “one of the most underrated pure songwriters in rock.”The Mike Ness 1976 Les Paul Deluxe is now available worldwide from authorized Gibson dealers, and on www.gibson.com.

SHINEDOWN performed its new single, “Planet Zero”, live for the first time last night (Wednesday, January 26) at the opening show of its “Shinedown Live In Concert” tour at The Warfield in San Francisco, California. Fan-filmed video and photos of the performance can be found below.

“Planet Zero” is the title track of SHINEDOWN’s seventh album, which will be released on April 22 via Atlantic Records.

Vocalist Brent Smith stated about the new disc: “If we shut each other down and allow ourselves to be divided by the information we consume and the way we talk to each other, we lose our humanity. When you look outside of your phone, you’ll see there are so many people doing good things and trying to take care of each other. But we’re starting to see parts of society slip into an unknown. ‘Planet Zero’ was written for all of us. The fact is that we’re all here on this planet no matter what, so it’s time to actually move forward together with empathy, perseverance and strength. With that said… welcome to PLANET ZERO.”

Last month, Smith told 95.9 The Rat’s Carl Craft about the new LP’s more “stripped-down” approach: “We wanted to push everything to the front. And what I mean by that is we’ve proven that we can make these records that there’s a lot of musicianship involved in it, and we have layered our records over the years because we love music and we love sound and we try to make really cinematic records. So with that, you have a lot of instrumentation that is not just drums, bass, guitar and vocals — we use orchestras, we use a lot of synthesizers, we use a lot of techniques that… We don’t believe in… Don’t tie your hands up when you’re making a record. Make the record that you wanna make. And ultimately, though, what we wanted to do with this album was make it just as ferocious as the other records but not utilizing so much of some of the style that we’ve done in the past with layering and layering guitars, adding lots of synth beds, stacking the vocals.”

He continued: “I come from the Freddie Mercury school when it comes to vocals and layering and backgrounds and things of that nature because I try — I say ‘try’ — try to use my voice as an instrument. But this is about really less is more. So the majority of this record is authentically drums, bass, guitar. There are piano songs; there’s two really, really very intense-subject-matter piano songs that are gonna be in SHINEDOWN seven. But we wanted to make a real rock record, we wanted to make a real record where we focus on just making sure that the band is being heard the way the band needs to be heard. So, not a lot of layering. It doesn’t mean it’s any less powerful; it’s just we’re not dealing with a lot of stacks. We’re just putting things left to right stereo, pushing everything to the front. The vocals aren’t layered a ton — not a lot of effects on the vocals, so not a lot of delays and reverbs and things like that. A lot of the vocals on the record are dry and kind of right up in your face.”

Smith also talked about the lyrical themes covered on the new SHINEDOWN album, saying they were inspired at least in part by the ongoing pandemic and resulting impact on the community, residents and businesses.

“Going through everything that the world went through last year, and we wrote the majority of the record last year, and this year, we couldn’t turn a blind eye to everything that was going on,” he said. “And we talk on this record, and we express on this record — we’re not trying to dance around certain subject matter. We’re trying to be very honest and very real. In a lot of ways, this is a very humanitarian record.”

Asked if SHINEDOWN will “piss people off” with some of the lyrical positions that are taken on the upcoming LP, Smith said: “Possibly. But the thing about it is I don’t necessarily think it’s about pissing people off; it’s about understanding what we all went through but where we need to go now. I think that it gets lost. It’s never supposed to be about… And I say this because I’m being very, very bold and very honest about it. This country, it’s not called the Divided States Of America; it’s called the United States Of America, and we want people to understand that that comes down to the people; that comes down to us. And us being able to not only work with each other, to grow with one another. But when you have certain people in power that do not have your best interests in mind, you have to stand up and make your voice heard. When I see what’s going on in regards to people’s freedom of speech and it being censored and people being pushed into a corner because of their opinions and what have you. You need to be able to have constructive conversations with each other in order to get actual action to happen for positive change.”

Regarding the first single from SHINEDOWN’s seventh album, Brent said: “It honestly addresses everything that society has dealt with from a planetary platform, if you will — not just here in the U.S., but the whole world — what the last 18 months has been like, and, at least in our opinion, how we’ve gotta move forward.

“Listen, the record… We’re talking about things that we’ve never talked about before,” he revealed. “We’re opening up the conversation into different subject matters that SHINEDOWN has never addressed. We have the full support of our label, our management and hopefully our fanbase, whether they’ve been there from day one or they’re just kind of finding out who we are. But it’s a record that I think some people will consider controversial, I think some people will consider to be very provocative, especially for SHINEDOWN, but it’s also something that we feel that it is very important and that it is necessary… Don’t get me wrong either — there’s a lot of triumph on this record, but there’s also a lot of having to take a step back and go, ‘What’s really going on? And how do we stop it from happening if it’s going to be something negative on the human race as a whole?’ Our society, the way that we live with one another, we share this planet with a lot of different organisms and creatures. It’s not just about us. It’s important that everybody really takes a step back and doesn’t always make it about them. We have to work together — like, all of us; we’ve really gotta start working together with each other and really creating a positive change forward for not only society but also for this beautiful planet that we’ve been given.”

The follow-up to 2018’s “Attention Attention” was recorded in part at a new studio in Charleston, South Carolina spearheaded by the group’s bassist and producer Eric Bass.

Shinedown @ The Warfield

Posted by Capital Chaos TV on Thursday, January 27, 2022

A few photos of Shinedown from the opening night of the 2022 tour at The Warfield last night. Full review and pictorial coming soon to Mayhem Music Magazine

Posted by Mayhem Music Magazine on Thursday, January 27, 2022

In a new interview with Anne Erickson of Audio Ink Radio, EXODUS singer Steve “Zetro” Souza spoke about the community that exists between heavy metal fans and musicians, and what it means to be a true metalhead. He said: “It doesn’t exist without each other. It’s the only form of music that has to have both [fans and musicians in order for the scene to thrive]. The musicians, we couldn’t survive without the fans, and the fans aren’t gonna get it anywhere else, because there’s no media that plays it for them. Nobody cares. So, we have each other, which is fine.

“You’ve never heard a guy come up and go, ‘Yeah, man, I was into SLAYER last summer,'” he continued. “That doesn’t happen. You’re either a fucking metalhead or you’re not. I mean, look at Rob Halford [of JUDAS PRIEST]. Go on his Instagram or his Facebook. Every single day, Rob’s got ‘metal this’ or ‘metal that’, or ‘this is what I’m listening to today.’ He’s a pure ambassador, and he’s 70-plus years old.”

Souza added: “It’s your mindset. And that’s how we all look at it. I know the metal fans will always be there. There’s not gonna be anybody that’s ever said, ‘Yeah, I listened to you guys when as a kid, but I don’t really listen to you anymore.’ That was never a fan. He listened because everybody else did back in the day. If you’re into it, you’re still into it, ’cause I’m still into it. It never passed me — ever. It’s your religion. Even if you’re into God or whatever, it’s a religion because you believe in it that much. And that’s the way it is.”

EXODUS’s latest album, “Persona Non Grata” was released in November. It is the follow-up to 2014’s “Blood In Blood Out”, which was the San Francisco Bay Area thrashers’ first release since the departure of the group’s lead singer of nine years, Rob Dukes, and the return of Souza, who previously fronted EXODUS from 1986 to 1993 and from 2002 to 2004.

“Persona Non Grata” was recorded at a studio in Lake Almanor, California and was engineered by Steve Lagudi and EXODUS. It was produced by EXODUS and was mixed by Andy Sneap. For the third time in the band’s history, they returned to Swedish artist Pär Olofsson to create the album artwork.

In July 2021, EXODUS drummer Tom Hunting underwent a successful total gastrectomy in his battle with squamous cell carcinoma (SCC) of the stomach. He rejoined his bandmates on stage in October at the Aftershock festival in Sacramento, California.

EXODUS tapped John Tempesta to play drums for the band at Psycho Las Vegas in Las Vegas, Nevada in August and at Full Terror Assault in Cave In Rock, Illinois in September while Hunting was recovering from surgery. Tempesta was a member of EXODUS from 1989 until 1993 and played on the band’s albums “Impact Is Imminent” (1990) and “Force Of Habit” (1992).

A GoFundMe campaign to help Hunting with medical expenses had raised more than $114,000 — including $5,000 from Tom’s former EXODUS bandmate, current METALLICA guitarist Kirk Hammett, and $1,500 from FOZZY singer and wrestling superstar Chris Jericho.

Make Instagram more metal and win some killer prizes doing Justin Bartlett’s ABCs of Extreme Metal Music Challenge in February
The post Justin Bartlett’s VBERKVLT Instagram Challenge Is Back appeared first on Decibel Magazine.

LAMB OF GOD recruited Phil Demmel (VIO-LENCE, ex-MACHINE HEAD) to play guitar for the band on this year’s ShipRocked cruise, which set sail from Galveston, Texas on January 22 and included stops in Costa Maya and Cozumel, Mexico before returning on January 27. Demmel filled in for LAMB OF GOD’s regular guitarist Willie Adler who was unable to make the trip for reasons that have not been disclosed.

Fan-filmed video of LAMB OF GOD’s final performance aboard the Carnival Breeze ship can be seen below.

Since Carnival Cruise Line’s Have Fun Be Safe protocols and procedures currently require that guests are fully vaccinated and tested before their cruise on all sailings through February 28, 2022, some fans have speculated that Adler’s COVID-19 vaccination status was the main reason he was excluded from this year’s ShipRocked.

Last October, LAMB OF GOD frontman Randy Blythe urged everyone coming to see his band perform to get vaccinated against COVID-19. “I believe in fucking science,” he said during an appearance on MACHINE HEAD frontman Robb Flynn’s “No Fuckin’ Regrets With Robb Flynn” podcast. “And I have friends who are doctors and scientists and nurses, and these are people I’m going to listen to — not someone on social media, not another musician, not a talking head on CNN, Fox News, USA Today, PBS; none of this stuff. I talk to my friends who are molecular biologists, immunologists, emergency room doctors, and I have friends who are nurses, one of whom works in a COVID ward — and someone very close to me. These are not my friends’ neighbors’ second cousin’s buddy [saying], ‘I heard this or that or the other’; these are people who are friends of mine I talk to directly. They’re, like, ‘This is real. This is the science. This is the data. This is what I see. These are the people I see dying.’ So I’m going to listen to my friends ’cause they’re a lot smarter than me.

“For me, everybody has to quote-unquote do their own research, I guess,” he laughed. “My research involves talking to friends of mine who spent years of their lives pursuing degrees that cost them thousands and thousands of dollars, or who dedicate their lives to the service of others in the medical profession. And this is what these people are telling me. So I don’t have to filter through all this data, through all these different media sources; I just talk to my friends. ‘Are you vaccinated?’ ‘Yes.’ ‘Tell me about this vaccine. Tell me about the technology.’ And I’ve had these conversations.

“When the vaccine came out very rapidly, comparatively, like anyone else, I was, like, ‘Well, that’s quick,'” Randy admitted. “But then some friends of mine explained to me, ‘This is old technology. They’ve been working on this for 15 fucking years. It’s not new. So cut it out with that.’ And also, this is not just an American or one country’s or one corporation’s push; this is a massive international effort to get this vaccine ready — different ones ready — for distribution.

“I have a friend who works in intelligence — pretty high-level intelligence — and one of their jobs right now is helping out with COVAX, which is the international vaccine distribution arm. And he [was] talking to one of his co-workers from COVAX, and it was just, like, it’s very frustrating with certain places where the vaccine is available and people don’t wanna take it, and there are countries that are begging for it.

“All that aside, for me, like I said, it’s a matter of talking to my friends and being, like, ‘What’s the deal with this?'” Blythe added. “Because these are people I trust, and they’re a lot smarter than me… So I’m going to listen to them — I’m just gonna.”

LAMB OF GOD’s latest, self-titled album was released in June 2020 via Epic Records in the U.S. and Nuclear Blast Records in Europe. The follow-up to “VII: Sturm Und Drang” marked LAMB OF GOD’s first recordings with Art Cruz, who joined the band in July 2019 as the replacement for the group’s founding drummer, Chris Adler.

“Lamb Of God” was recorded with longtime producer Josh Wilbur (KORN, MEGADETH, GOJIRA, TRIVIUM) and includes special guest appearances by Jamey Jasta (HATEBREED) and Chuck Billy (TESTAMENT).

Shiprocked 2022! Randy Blythe from Lamb of God having some fun!

Posted by Jennifer Orr on Thursday, January 27, 2022

ASIA, one of the greatest and best-loved supergroups to emerge during the 1980s, is currently preparing for an extensive 40th-anniversary celebration, due to kick off in summer 2022. Featuring founding members Carl Palmer (ELP, CRAZY WORLD OF ARTHUR BROWN) and Geoff Downes (YES, THE BUGGLES), the group will also include longtime bassist/ vocalist Billy Sherwood (YES) and newest member, guitarist/ lead vocalist Marc Bonilla, (solo artist, KEITH EMERSON BAND). The band is currently being booked for a U.S. tour to start late summer this year.

“40 years of ASIA is a real musical milestone for us,” says Downes. “The success we experienced with our early albums has carried us through and gave us the foundation when we reformed in 2006. ASIA has been together ever since, although we lost John in 2017 to cancer. Still, we have endured and will carry on now with Marc Bonilla, who we know will be a great addition to the band.”

“The fans have never left ASIA,” says Palmer. “That first ASIA album with all those radio and MTV hits weaved the fabric of the music scene in the early 1980s. Those great songs like ‘Heat Of The Moment’, ‘Sole Survivor’ and ‘Only Time Will Tell’ still hold up today. When we play those songs and our other hits, we can see the entire audience singing along.”

In December the multi-platinum selling English supergroup released its most ambitious collection to date: a 10-CD boxset “The Official Live Bootlegs Volume 1”. Issued through BMG Records on December 3, the expansive set chronicles five complete performances of the original lineup captured between 1982 and 2010. The collection celebrates the huge appeal of the concert tours that followed ASIA’s first two albums in 1982 and 1983. The success continued following ASIA’s 25th-anniversary reunion in 2006 and three more highly acclaimed albums. The slipcase boxset features 5 x 2CD concerts from 1982 (Buffalo, NY, USA), 1983 (Worcester, MA, USA), 2007 (São Paulo, Brazil), 2008 (Tokyo, Japan) and 2010 (London, UK). The bootleg collection follows a previous 5 CD box set of studio recordings released in April, 2021.

Downes, Steve Howe (YES, guitars), Palmer and John Wetton (KING CRIMSON, UK, bass/vocals), took the world by storm with ASIA’s eponymous debut album, globally the biggest-selling album of 1982, and the single “Heat Of The Moment”. ASIA was a true “supergroup”, pooling the talents of its four members who had already amassed tens of millions of record sales with their collective bands of the 1970s. Leaving behind their progressive roots, ASIA embraced the commercial FM rock sound that dominated U.S. airwaves and took that, and the new MTV video channel, by storm. The single “Heat Of The Moment” was a worldwide monster smash and their eponymous 1982 debut album spent an incredible nine weeks at No. 1 on the Billboard chart as ASIA became the biggest-selling album of the year and world tour dates sold out.

A second album, “Alpha”, was released in 1983, followed by “Astra” in 1985. The four original members reconvened in 2006 for a world tour, to celebrate the 25th anniversary of that incredible success, and the album “Phoenix” followed. While the members were still heavily involved in other projects, they came together again to record “Omega” in 2010 and “XXX” in 2012, both albums were acclaimed by their faithful fans and supported by more world tours. Howe stepped back from ASIA to concentrate on his work with YES and was absent for 2014’s “Gravitas”. Following this tour came the news of Wetton’s treatment for cancer, a fight he sadly lost in 2017. ASIA was special guest of JOURNEY for an extensive U.S. tour in 2017, and in 2019 the band hit the road with YES for the “Royal Affair” tour.

“We are planning an extensive tour to celebrate our 40th,” adds Downes, “and the music will feature all the hits the fans have embraced. Stay tuned! It will be show you won’t want to miss.”